Music's Immanent Future: The Deleuzian Turn in Music Studies

The conversations generated by the chapters in Music's Immanent Future grapple with some of music's paradoxes: that music of the Western art canon is viewed as timeless and universal while other kinds of music are seen as transitory and ephemeral; that in order to make sense of music we need descriptive language; that to open up the new in music we need to revisit the old; that to arrive at a figuration of music itself we need to posit its starting point in noise; that in order to justify our creative compositional works as research, we need to find critical languages and theoretical frameworks with which to discuss them; or that despite being an auditory system, we are compelled to resort to the visual metaphor as a way of thinking about musical sounds. Drawn to musical sound as a powerful form of non-verbal communication, the authors include musicologists, philosophers, music theorists, ethnomusicologists and composers. The chapters in this volume investigate and ask fundamental questions about how we think, converse, write about, compose, listen to and analyse music. The work is informed by the philosophy primarily of Gilles Deleuze and Felix Guattari, and secondarily of Michel Foucault, Julia Kristeva and Jean-Luc Nancy. The chapters cover a wide range of topics focused on twentieth and twenty-first century musics, covering popular musics, art music, acousmatic music and electro-acoustic musics, and including music analysis, music's ontology, the noise/music dichotomy, intertextuality and music, listening, ethnography and the current state of music studies. The authors discuss their philosophical perspectives and methodologies of practice-led research, including their own creative work as a form of research. Music's Immanent Future brings together empirical, cultural, philosophical and creative approaches that will be of interest to musicologists, composers, music analysts and music philosophers.

Table of Contents:
List of Figures List of Tables List of Music Examples Notes on Contributors Acknowledgements Introduction Sally Macarthur and Judy Lochhead The Academic Music Machine 1. The Academic Music Machine Sally Macarthur 2. From the Universal and Timeless to the Here and Now: Rethinking Music Studies Susan McClary 3. Music and the Intertextualities of Listening, Performing and Teaching Jennifer Shaw 4. An Immanent Approach to Theory and Practice in Creative Arts Research Joseph Williams Deleuzian Encounters 5. Intra-active Soundings: becoming-woman, becoming-minor Sally Macarthur and Judy Lochhead 6. Chaotic Mappings: On the Ground with Music Judy Lochhead 7. Meeting the Composer Halfway: Which Anne Boyd? Sally Macarthur 8. Schaeffer’s Sound Effects Ian Stevenson Materialities of Sounding 9. Applied Aesthetics Judy Lochhead 10. Living Colours: An Asian–Pacific Conceptual Frame for Composition Bruce Crossman 11. Kawaii Aesthetics and the Exchange Between Anime and Music Paul Smith 12. A Musical Portmanteau: Rock Viscerality, Juxtaposition and Modernist Textures in Frumious Holly Harrison Immanent Listening 13. Immanent Listening Sally Macarthur 14. Seeing the Sense: Imagining a New Approach to Acousmatic Music and Listening Michelle Stead 15. Listening to Ethnographic Holocaust Musical Testimony through Jean-Luc Nancy Joseph Toltz Deleuzian Ontologies 16. Musical Becomings Judy Lochhead 17. Material Music: Speculations on Non–Human Agency in Music Greg Hainge Bibliography Index

About the Author :
Sally Macarthur is a musicologist whose work focuses on recent musical practices in Australia with a particular emphasis on music of the western classical tradition and women's music. She is Associate Professor and Director of Academic Program (Music) in the School of Humanities and Communication Arts at the University of Western Sydney, Australia. Judy Lochhead is a theorist and musicologist whose work focuses on the most recent musical practices in North America and Europe, with particular emphasis on music of the western classical tradition. She is Professor of Music at Stony Brook University, USA. Jennifer Shaw is a musicologist whose work focuses on the Second Viennese School, music copyright and on creative practice as research. She is Professor and Executive Dean of the Faculty of Arts at the University of Adelaide, Australia.